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NAB 06

Mar 1, 2006 12:00 PM, By Trevor Boyer, Barry Braverman, Dan Ochiva, Jan Ozer, Jem Schofield, and Jeff Sauer

Tire kicking time

Navigation
Introduction
Cameras and lenses
Camera support
Editing
Displays and projection
HD-DVD and Blu-ray discs

Cameras and lenses

With the imminent approach of NAB 2006, shooters will see an acceleration of several trends—most notably the acceptance of HD into virtually every market, along with some form of tapeless acquisition. Be it to optical disc, hard drive, or solid-state memory card, one thing is sure in looking beyond this year's show: The era of videotape is reaching the end of its long-play cassette. Of course, this year's NAB won't completely render obsolete the 50-year-old medium in all applications and niches, but, from this point forward, helically scanned bits will become an increasing rarity. Professional shooters, like everyone else on this runaway IT bus, are careening inexorably toward a more tapeless future.

The Panasonic P2-based AG-HVX200 illustrates the point. Gone are the failed shoots due to condensation or rampant dropouts from conventional videotape. Gone, too, are the limited shelf life of traditional Mylar, the need for long capture sessions, and the $25,000 to $30,000 hardware that go with them. Servers à la Hitachi's new Sinelink Digital Transceiver series—not VCRs—will be the preferred IT workflow of the future. The Panasonic HVX200 with MXF-based P2 technology is simply reflective of this trend, coupling built-in hosting and dubbing capabilities via FireWire and USB 2.0.

For shooters, the HVX200 is indicative of the flexibility we will enjoy in the future. The camera is capable of recording in 81 different HD and SD modes from 12fps to 60fps, and exhibits a range of capabilities in multiple resolutions that are only possible via a tapeless recording medium

The advent of MXF recording in the Panasonic P2 and Sony XDCAM formats ushers in a new era of efficient data handling and asset management. The array of metadata supported inside the MXF wrapper, from timecode and the shooter's name to voice notes and GPS information, lends itself to a streamlined, efficient workflow as such data is made a permanent part of the clip. Access to the clip can also be monitored and recorded at every stage in a production, so that a shooter looking to assert control later can trace his images through to final output from the NLE and digital intermediate, with information on each person who laid a hand on the scene duly recorded in the MXF metadata.

MXF and the shooter

The MXF revolution is not without its challenges. With the Panasonic factory finally filling its many thousands of backorders, one can look for support from ancillary manufacturers hoping to jump on the HVX/P2 bandwagon. Even as the price of P2 media continues to decline, many of us will be looking at alternative streaming options, such as Focus Enhancements' FireStore FS-100. An actual production model is expected to appear at NAB, if not before. The only question is, will it support native frame rate recordings? Remember, the HVX is analogous to a traditional film camera in this regard, capable of recording actual 12fps to 48fps natively; the output stream of unique frames in Native mode via FireWire not being an actual transmittable video stream.

Besides the FireStore, other HDD recorders such as Specialized Communications' CinePorter and Shining Technology's CitiDISK are also said to be in the works. The CinePorter in particular bears watching if a prototype actually materializes at the show. The unit is said to connect directly to the P2 slot, eliminating the need for an externally tethered HDD. This would be a welcome reprieve, for sure, from a FireWire cable and its notoriously fragile four-pin connector.

Sony XDCAM HD

The ongoing march to the IT Promised Land is very much evident in Sony's new XDCAM HD camcorder. Bearing the PDW-F330 designation, the camera supports file-based recordings (MXF) to blue-laser disc that can be easily offloaded and integrated into a server-based postproduction environment. In HD mode, the camera uses MPEG-2 4:2:0 compression, an approach similar to that of HDV that yields up to two hours of continuous recording at 18Mbps. Long-form shooters will, therefore, look particularly kindly on the new XDCAM offering. Video can be recorded to disc at 1080i60, 1080i50, 1080p30, 1080p25, and 1080p24, making this camera one of the most versatile units for worldwide applications. DVCAM recording at 25Mbps is also offered for those shooters working in traditional SD.

A JVC perspective

JVC's corporate communications manager Dave Walton agrees that HD has eclipsed standard definition as the acquisition format of choice. He disagrees, however, as to the relevance of IT-oriented systems such as P2 and XDCAM to documentary and other long-form program shooters. For documentary shooters in particular, he says, videotape will continue, for at least several years more, to play a vital and necessary part of the routine shooter's workflow. At NAB 2006, look for JVC to introduce one or two new camcorders in its ProHD line, including (maybe?) a new model featuring a rear-mounted HDD recorder in the vein of the current GY-DV5100 camcorder.

A key advantage of JVC's HDD approach is extensive integration with the camera viewfinder. In SD models, the FireStore recorder captured original camera files directly into QuickTime, meaning that Final Cut Pro users and others could use original camera footage directly without transcoding or other time-consuming conversion processes.

Imagers on parade

I've written much in the past year regarding the advent of CMOS imagers in the latest generation prosumer and professional camcorders. Sony's diminutive “notebook” camera, the HVR-A1U, for instance, benefits handsomely from the new CMOS technology. It offers increased-resolution, film-like colorimetry, and very low power consumption. At NAB 2006, look for more implementations of groundbreaking CMOS technology. One example will be the Ikegami HDK-79EX II with a 1080i/720p CMOS imager suitable for most professional applications.

A lens for all seasons

As investment in postproduction “heavy iron” becomes increasingly unnecessary, shooters will want to devote more of their financial resources to the highest-quality image acquisition tools possible. Needless to say, judging from the latest camcorder offerings, the quality of today's image acquisition tools is improving in leaps and bounds, and that would, of course, include the camera's primary optics. In years past, many shooters like myself would carry two expensive lenses on the job: the standard 14X or 18X zoom and a second 5.5mm wide-angle zoom to match.

Now, Fujinon is bringing greater economy and efficiency to the shooter's workload by introducing a versatile new HD ENG/EFP lens that combines a 16X telephoto and ample wide angle (6.3mm) in a single objective. Designed using new technology without expensive aspherics, the 2/3in. lens can focus to as close as 20in. while still retaining a lightweight, compact package.

Canon going long

Canon will also be introducing its own lightweight contender in the long telephoto category, the HJ18ex28B. This new lens is classified as a portable HD zoom, and is said to be, according to the company, “the longest portable HD telephoto lens on the market.” However, most attention at the Canon booth may be on the Digi Super 100X field lens that features an Advanced Focus system to help operators maintain focus even in difficult long lens situations.

The IT revolution = more versatile cameras

That's really the theme for me at this year's NAB. Sure, we'll be admiring and drooling over some impressive new non-camera gear like the latest LCD displays from Panasonic. (I understand the new 26in. BT-LH2600W is to die for.) Still, the real story is the expansion in storytelling capability now available toshooters from new IT-based workflows. For decades, the mechanical and physical limitations of videotape defined what we could shoot, the format, in what resolution, and at what frame rate.

As shooters in this crazy new IT-centric universe, our moment as accomplished visual storytellers has finally arrived. Now it's up to each of us to seize this new workflow and make it our own. See you in Vegas!
— BARRY BRAVERMAN

© 2008 Penton Media, Inc.